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Language endangerment in the Sepik area of Papua New Guinea
No full textThe island of New Guinea is probably the most linguistically diverse and complex area in the world, with over 1,000 languages spoken over an area of 900,000 km2 (that is, one language every 900 km2: Foley 1986:8). Seventy-five percent of these languages belong to Non-Austronesian families often referred to as 'Papuan' (see Foley 1986:I-3; Dixon 1991a:245)^1. The state of Papua New Guinea (independent since 1975) features about 830 languages (Nekitel 1998; Ford ms; Landweer 2000), with the number of Papuan languages exceeding 600 (see Foley 1986: 1-3; Dixon 1991a: 245). Its official languages are English, Tok Pisin and Hiri Motu (also called Police Motu). Tok Pisin is currently the most important language spoken in most provinces. English is less dominant, but is widely gaining ground, especially in West Sepik (Sandaun) province, in Western province and a number of other Coastal provinces (see Sankoff 1980: 126w70). Hiri Motu is even more restricted (for instance, it is not known at all in either of the two Sepik provinces). Bi- and trilingualism in Tok Pisin and English is quickly expanding. According to
materials in Sankoff (1980: 129-30), in 1971 the percentage of Papua New Guineans age ten and over who were unable to speak any of the official languages was 17.6% in East
Sepik and 35.9% in Sandaun. Now the number of people with no knowledge of at least one official language would be negligible^2
コリマ・ユカギール語の複合名詞をめぐって
No full textThis paper examines the following four types of constructions in Kolyma Yukaghir: (1)[Noun-d Noun] and (2) [Noun-n Noun] where -d and -n are suffixes attached to the first noun; (3) [Noun Noun]; and (4) [Noun Noun-gi] where the third person possessive suffix -gi is attached to the second noun. The author argues that the first two types of these constructions, (1) and (2), are better described as compound nouns on the basis of their semantic, morphological and syntactic properties. The author further aims to show that in some cases, deviance from the basic types of these constructions are recognized. The analysis of some relevant cases reveals that semantic factors, such as contrast and emphasis, can cause these deviances. On the other hand, the two other constructions, (3) and (4), are analyzed as noun phrases. The degree of referential property differentiates one type form the other. In order to support this conclusion, the author provides a detailed observation of some non-elicited passages taken from Kolyma Yukaghir folktales. The author finally speculates that the variation across these four different, but similar, constructions reflects the unique typological characteristic that the Yukaghir languages exhibit, that is, an elaborate system of information structure marking
Kolyma Yukaghir Text with Grammatical Analysis (1)--People Who Hear the Language of Birds
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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